Erikson’s End Stage of Development Essay - 1295 Words

As human beings age, according to Erik Erikson, they go through developmental stages that help to create and transform their personalities. If needs are met and the ego is gratified, then the individual is able to move on to the next challenge. Onward they march in life and in stage until they find the end level: integrity versus despair. This has been categorized as adults 65 years and older by Erikson. Here, people are to reminisce and judge their lives in terms of merit or disappointment. Erikson himself had a lot to comb through in his later years. Erik Erikson was born in Frankfurt, Germany just after the turn of the twentieth century. It is known that he was a product of an affair out of wedlock. He did not find this out†¦show more content†¦The final stage, however, is a little different. One does not have a challenge to overcome so much as a lesson to learn. The person must look back on their life and see the mistakes they have made. They can also see the wise decisions reached and good times had. And it is at this point that most people either see meaning or resentment in their lives. Once an adult reaches retirement, they begin to slow down, if they have not already, and reflect upon a long life lived. They are at the mercy of many decades worth of memories, some good and some bad. The elder will feel a sense of wellbeing if they are satisfied with their life. This satisfaction roots itself in accomplishment. Humans usually want to undertake many things in their lives. Some are able to attain these and others are not. Those that do achieve their goals are filled with a sense of gratification. Arlene Handler says that Erikson calls this â€Å"integrity† (The Developmental Stages of Erik Erikson, 2002 (revised 2009)). This also allows for a quiet acceptance of death. People who accept death as inevitable do so with grace and ease. They look at their life and see an adventure with hills and valleys, but valleys that they were able to climb out of with might and determination. Erikson thought this to be remarkable and was amazed by elderly peopleâ⠂¬â„¢s resiliency. He found that the strength at this stage was wisdom and that all the experiencesShow MoreRelatedErikson s Psychosocial Theory : Development Of Ego Identity1293 Words   |  6 PagesZoi Arvanitidis 05/16/17 ECEE-310 Dr.Alkins Studying Erikson’s Psychosocial theory Erik Erikson was a student of another theorist, Sigmund Freud. Erikson expanded on Freud’s psychosexual theory. Erikson later developed the psychosocial theory. This theory described the effect of one’s social experiences throughout one’s whole lifespan. One of the main elements of Erikson’s psychosocial theory is the development of ego identity. Ego identity is the conscious sense of self that we developRead MoreErik Erikson s Theory Of Psychosocial Development1359 Words   |  6 Pagesevery stage a new miracle of vigorous unfolding.† And no matter who you are and what you do, I believe that everyone will go through stages in their life. Erik Erikson was a famous psychologist in the twentieth – century, where he developed â€Å"Psychosocial stages†. Erikson’s theories centered on issues that were met on specific ages in someone’s life. Love, care, and tender is critical and many parents do not realize how much nurturi ng and caring for a child is very important. Erik Erikson’s developmentalRead MoreFreuds Psychosexual Stages Of Development1486 Words   |  6 PagesWhen compared to Freud’s psychosexual stages of development, one can see that Erikson’s theory has many similarities. As a one of Freud’s students, Erik Erikson was not convinced by Freud’s psychosexual stage of development, which lead to the development of his theory of psychosocial stages of development (Arnett, 2015). Within Erikson’s theory there are eight different stages with different life crisis to be resolved. Not resolving the conflicts would lead to an unhealthy personality, which causesRead MoreHas Anyone Put Any Psychological Thought Into How They1483 Words   |  6 Pagestheir lives to this type of development. Erikson theorists would take a social influence stance, and Piagetian theorists focus on one’s cognition. So, who is right? More knowledge has been obtained to know that human behavior should be social and the need to socialize with other people. Erikson believes this whereas Piaget thought of qualitative thinking that shapes a child. Erikson is more influential about identity development because he explains his theory with more stages than Piaget, appropriateRead MoreErik Erikson s Development Theory1603 Words   |  7 PagesErik Erikson’s lifespan development theory has proven to be popular and applicable to many people. However, Erikson’s theory was a bit bias and generalized groups of people whose cultures, genders and environments did not apply to his theory. This paper will focus on Erikson’s last four stages of development, and discuss how each stage may be impacted by these various factors. Identity vs. Role Confusion The adolescence stage of development in Erikson’s theory was labeled as identity vs. role confusionRead MoreErik Erikson : Psychosocial Development1103 Words   |  5 PagesErik Erikson: Psychosocial Stages of Development â€Å"Erik Erikson was best-known for his famous theory of psychosocial development and the concept of the identity crisis. His theories marked and important shift in thinking on personality; instead of focusing simply on early childhood events, his psychosocial theory looked at how social influences contribute to personality throughout the entire lifespan† (Cherry). This paper will discuss Erikson’s childhood and the influence it had on his work. AlsoRead MoreWhat is Psychosocial Development?948 Words   |  4 Pagesis psychosocial development? Psychosocial development is development on a social realm. Psychosocial development is how one develops their mind, maturity level, and emotions over the course of one’s life. The rate of development depends on different factors such as biological processes as well as environmental factors. A man named Erik Erikson who was a psychoanalyst who believed that early childhood successes and failures were responsible for i nfluencing later developmental stages developed thisRead MoreErik Erikson s Psychosocial Theory Essay1641 Words   |  7 PagesErik Erikson’s psychosocial theory states that we go through 8 developmental stages in life. Erikson states that these stages are necessary in the progression and development of human growth from infancy into adulthood. Each developmental stage presents a crisis that must be resolved during that stage for a healthy development. Erik Erikson’s psychosocial theory outlines that we develop in psychosocial stages instead of psychosexual ones. I agree with Erikson because one might not get through theRead MoreErik Erikson s Theory Of Psychosocial Development Essay1366 Words   |  6 Pages Abstract Erik Erikson (1902-1994) provided a new perspective of psychosocial behavior and development while expanding on the works of other theorists. Erikson believed there to be eight stages of psychosocial development which a person transitions through. These stages start at birth and end with old age/death. Erikson’s work is used throughout many outlets of social work. Social workers use this information to help them figure out what is going on with clients and how best to help them. EriksonRead MoreErik Erikson s Psychosocial Development Theory1518 Words   |  7 Pagesof Erik Erikson s Psychosocial Development Theory, specifically the transition from adolescence to adulthood. Psychosocial Development, according to Erik Erikson, is a continuity of crisis throughout our lifespan; these challenges will shape our personality and the way we perceive our surroundings. In addition to this, the different stages mentioned in this Theory complement each other and help us to develop the to ols to achieve a sense of fulfillment at the end of our existence. According to our

Propaganda During The 20th Century And The Onset Of World War

Propaganda has always held sway over hearts and minds. Although the United States’ first large-scale wartime experience with propaganda in its semi-modern form of ‘yellow journalism’ took place during the Spanish-American War , primitive forms of it have existed since the days of â€Å"the tattoo-covered Caddo warrior, whose body attests to every victory, accomplishment, or god worshiped† and â€Å"Hannibal’s titanic war elephants advancing across the Italian plain.† Even â€Å"the ‘rebel yells’ of Confederate soldiers proclaiming that a charge was about to ensue† can be considered a sort of propaganda because in its most simple definition, propaganda is â€Å"the manipulation of opinion.† However, the modern propaganda which Americans are most familiar with is well summed up by the Merriam-Webster definition: â€Å"ideas or statements that are often false or exaggerated and that are spread in order to help a caus e, a political leader, a government, etc.† The beginning of the 20th century and the onset of World War I marked the beginning of the true modern propaganda era, and throughout the 20th century, propaganda has grown in scope and influence, as well as been altered in how it is disseminated among and marketed to the people. â€Å"‘There is little exaggeration,’ wrote political scientist Harold Lasswell in 1938, ‘in saying that the World War led to the discovery of propaganda both by the man in the street and the man in the study.’† Indeed, in the period directly after WWI, propaganda, aShow MoreRelatedThe And Collective Anti Semitic Violence1679 Words   |  7 PagesCollective acts of violence during the late nineteenth century and early twentieth century became more prominent and apparent since the Civilizing Process meant that violence was no longer an inherent part of everyday life. 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Clockwork Orange And The Age Of Mechanical Reprodu Essay Example For Students

Clockwork Orange And The Age Of Mechanical Reprodu Essay ctionClockwork Orange and the Age of Mechanical ReproductionFor Walter Benjamin, the defining characteristic of modernity was mass assembly and production of commodities, concomitant with this transformation of production is the destruction of tradition and the mode of experience which depends upon that tradition. While the destruction of tradition means the destruction of authenticity, of the originally, in that it also collapses the distance between art and the masses it makes possible the liberation which capitalism both obscures and opposes. While commodity fetishism represents the alienation away from use-value and towards exchange-value, leading to the assembly line construction of the sameas we see relentlessly analyzed by Horkheimer and Adorno in their essay The Culture Industry. Benjamin believes that with the destruction of tradition, laboratory potentialities are nonetheless created. The process of the destruction of aura through mass reproduction brings about the destruct ion of traditional modes of experience through shock, in response new forms of experience are created which attempt to cope with that shock. Even the most perfect reproduction of a work of art is lacking one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout the time of its existence. The authenticity of a thing is the essence of all that is transmissible from its beginning when substantive duration ceases to matter, he says, the authority of the object is threatened. (Think, for example of Alexs response to high art) technology has subjected the human sensorium to a complex kind of training. There came a day when a new and urgent need for stimuli was met by the film. In a film, perception in the form of shocks was established as a formal principle. That which determines the rhythm of production on a conveyor belt is the basis of the rhyt hm of reception in a film. (Motifs in Baudelaire) Benjamin distinguishes between two kinds of experience: Erfahrung something integrated as experience, and Erlebnis, something merely lived through. Erlebnis characterizes the modern age and refers to the inability to integrate oneself and the world via experience. Erlebnis, then, is the form of experience of late capitalism, and our relation to commodities is characterized by ahistoricity, repetition, sameness, reactiveness, all the categories which the Culture Industry will describe as liquidating culture in the present post-holocaust era. The desire of the contemporary masses to bring things closer spatially and humanlyis just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction. The fact of this desire for the reproduction over and above the original is precisely what Horkheimer and Adorno believe is destroying culture, for contrary to Benjamin, Horkheimer and Adorno assert that a ny emancipatory possibilities are re-absorbed into capitalism, and fascism turns out to be the midget in the Chess-playing machine of capitalist oriented democracy. They set out, like Poe in his article Maelzels chess player, to show that capitalism has a hidden motor and it is none other than fascism. Benjamins essay The Work of Art in the Age of Mechanical Reproduction provides us with an outline of the history of the work of art and the historical changes, which have led to the transformation of experience from Erfahrung to Erlebnis. It is only in the post-modern or so called post-industrial age that the concept of autonomy handed down to us from Kant, among others, begins to reveal it ideological nature. Benjamins analysis of autonomous art not only destroys our notions of the wholistic work, but also dispels the illusion of the artist as transcendental creator. Let us look for a moment at his comparison of the painter to the cameraman. The painter maintains in his work a natura l distance from reality, the cameraman penetrates deeply into its web. There is a tremendous difference between the pictures they obtain. That of the painter is a total one that of the cameraman consists of multiple fragments, which are assembled under a new law. Thus, for contemporary man the representation of reality by the film is incomparably more significant than that of the painter, since it offers, precisely because of the thoroughgoing permeation of reality with mechanical equipment, an aspect of reality which is free of all equipment. And that is what one is entitled to ask from a work of art. (Walter Benjamin, Illuminations, The Work of Art in the Age of Mechanical Reproduction, p. 230) Benjamin informs us that the surgeon and cameraman share in common the apparent act of penetrating into the web of reality to come up with fragments assembled under new laws, something which neither the magician nor the painter are capable of doing. The magician and the painter refer to a w holistic totalizing representation of reality. They are the producers of what has become a fetishized autonomous work. By way of contrast the figures of the surgeon and cameraman, and nowadays the cybernetician or genetic engineer plunge into reality itself and reassemble it from the bottom up. Along with the global controller who is responsible for the behavior of every part, any possible way of understanding the whole from these reassembled fragments is impossible. The maker vanishes at the moment reality is reassembled. Art escapes the gravitational pull of ritual and aura by virtue of its thoroughgoing technization of representation and, importantly, the complementary technization of perception itself. Other modes of representation allow their equipmentality, the residue of their technique to remain strictly visible, whereas film, by virtue of its extreme technization makes the technical aspects invisible. Film provides the illusion of a more direct apprehension of reality. Dist raction replaces concentration. Evidently a different nature opens itself to the camera than to the naked eye if only because an unconsciously penetrated space is substituted for a space consciously explored by man. Even if one has a general knowledge of the way people walk one knows nothing of a persons posture during the fractional second of a stride. The act of reaching for alight or a spoon is familiar routine, yet we hardly know what has really gone on between hand and metal, not to mention how this fluctuates with our moods. Here the camera intervenes with the resources of its of its lowerings and liftings, its interruptions and isolations, its extensions and accelerations, its enlargements and reductions. The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses. (236-237) As mechanically mediated dreams, film and photography and now Virtual Reality are all about the interpenetrating of human and image with equipment; the trajectory of futu rism, the dreamt of metallization of the body is completed in our own era where it will be impossible to know whether one is experiencing reality or VR. The equipment-free aspect of reality here has become the height of artifice; the sight of immediate reality has become an orchid in the land of technology. (233) Individuality itself breaks down and the individual viewer becomes equivalent to mass culture through mass reproduction. The destruction of uniqueness renders even the western metaphysical subject obsoleteit is this obsolescence of the unique which is reflected in our own culture of commodity obsolescence. Horkheimer and Adorno (p. 126) rail against the emancipatory imagery of Benjamin, for real life is becoming indistinguishable from the movies. For Horkheimer and Adorno this means a stunting of the mass-media consumers powers of imagination and spontaneity although as Benjamin asserts quickness, powers of observation, and experience are undeniably needed to apprehend film at all. Horkheimer and Adorno show that nevertheless sustained thought is out of the question if the spectator is not miss the relentless rush of facts. Even though the effort required for his response is semi-automatic, no scope is left for the imagination. Those who are so absorbed by the world of the movie by its images, gestures, and words that they are unable to supply what really makes it a world, do not have to dwell on particular points of its mechanics during a screening.(127) The culture industry as a whole has molded men as a type unfailingly reproduced in every product. (127) Clockwork Orange, is a film which analyses this process, film forces its victims to equate it directly with reality this is the conditioning process which is chosen by Alex, his formally astute powers of observation are perverted in the forced viewing of films (see the image at the header of this article) so that he equates violence, and the capacity to respond to violence with an unconscious linki ng to a feeling of death. Because the apparatus presents not a world to explore, but a screen upon which images are projected, Alex, like a prisoner in Platos cave, is afflicted, willingly/unwillingly, with a type of motor paralysis which makes the reality test impractical him. He is reduced to a subject remotely controlled by the cinematic apparatus and science. That this is perceived pleasurably for the mass audience might be linked to regression to a state of infant-like passivity. As passive subjects, the cameras eye becomes our eye, and its distortions become, possibly, the truth. It is not his mind but his body, which learns this connection. (Disk1B, 5, 27:40) Here, that chosen passivity is revealed to be what it denies, Alex like us, is a willing victim. The treatment becomes a punishment because coming into contact with the treatment perverts music, the image of high culture. Beethovens 9th Symphony is perverted (Disk1B chapter 5 29:25) by coming in contact with its scientif ic use in a conditioning treatment. The ninth above all in Beethovens work represents his attempt to find a universally acceptable message. The first movement reflects the desperate condition of mankind and alludes to Tartarus (the place where the worst offenders would go in Hell) as a symbol, the second movement depicts the search for happiness with diversions, and the third movement emotes piety a turning towards religion. The finale, in recounting all that has gone before arrives at fulfillment. This is precisely the organization, which Kubrick creates for his film. We see a reverse of the development of society, we move from a universal dystopia, toward an individual fulfillment, universal in the every man. That this fulfillment is only for the individual and not for the masses is one of the driving forces of the film. Now, Horkheimer and Adorno never really move away from endorsing high culture (rather than a breakdown in individuality and autonomy, they seem to want its re-inc orporation, probably the result of failing to be willing to really give up the enlightenment project) Alex with his ultra-violence represents the breakdown of culture itself (for example the opening scene with the bum) Alex understands the post-industrial society, he is both a product of it, and a means for its further production. Seeking idle de-contextualized violence as entertainment becomes a means of extremely temporary control, fulfillment, and emancipation from the horrors of a dystopian society in the throws of cancerous emptying of meaning. The bum says in first scene: The problem is there is no law and order, there are men on the moon and circling the earth, but there is no care taken here below. Technology has progressed but left the earth behind, no morality, and no ethics The old has failed to adapt to the changes; the violence of modern technology sees its reflection in Ultraviolence, beyond violence. Labor in this age is no longer that of production, but of destructio n without purpose violence without a referent. Thus we see Dims statement after the first ultraviolence (chapter 4 opening): Weve been working hard too. It is the expenditure of energy for its own sake. Labor in the Post-industrial age. In moving beyond mere violence, toward ultra-violence, Alex has incorporated and mastered the post-industrial age. As a post-modern pastiche of learnedness and stupidity, he is the inside-out reflection of the enlightenment subject. His language is the comprised of odd bits of rhyming slang a bit of gypsy talk, too, but most of the roots are Slavic. Propaganda. Subliminal penetration (from the book.) A clockwork orange, in the words of the Author within the book: A Clockwork Orangethe attempt to impose upon man, a creature of growth and capable of sweetness, to ooze juicily at the last round the bearded lips of God, to attempt to impose, I say, laws and conditions appropriate to a mechanical creation, against this I raise my sword-pen. Id like to tur n now to a very fascinating scene, the turning point of the film as it were, when he murders the Cat Lady: One will notice that the room abounds in modern art, which depict scenes of sexual intensity and bondage. The Cat Women is the only real force of resistance to Alex, and the scene presents us with a struggle between high-culture which has aestheticized violence and sex into a form of autonomous art, and the very image of post-modern mastery, Alex, who understands all to well the meaning which is obscured from the Cat Women. She inhabits a private sphere, the image of enlightenment individuality (cat women are always introverts who are obsessively non-social) in a sort of delusional satellite from the city where it is all hoodlums. (Note the inversion of the polisAlex brings the horror of the cities into the suburbsCyberbia). Denied the historical context of Art (the ninth is misunderstood) he actually understands the meaning of modern art very well indeed as violence, in fact h e turns it literally into the tools of violence, she is killed, as it were by her own instruments of aesthetic decontextualization. The sculpture phallus (a very important piece of art, ritualized and de-politicized) is made into a weapon, and the scene of her death is a nearly subliminal orgy of modern-art. Whereas she, as with the use of all high-art among the Bourgeoisie, finds only exchange value in the phallus, phallus as pure sign, Alex initiates the violent reversal of that commodification. He turns it into a tool, here a tool of violence; what she has done is to inject exhibition value into forms of art which have only exchange value, the work of art in the hands of the Bourgeoisie is reinjected with a type of aura, which only lead it further in the direction of losing control (like the reinjection of aura in the robot Marias aurain Metropolis). Control is lost and the phallus becomes a weapon, a violent recontextualization by Alex. He proves to understand well this process. There are also similarities here with the States control of his mind through conditioning. The state attempts to gain control by turning Alex into a robot (a clockwork orange), thus commodifying him (isnt this the struggle at the end for control of Alexthe liberals and state?). His use-value is a function of his exchange-value. BUS300-20: Decision Making Essay Music and Movies